Åbäke

The Baltic Atlas


Edited by Kārlis Bērziņš, Jurga Daubaraitė, Petras Išora, Ona Lozuraitytė, Niklāvs Paegle, Dagnija Smilga, Johan Tali, Laila Zariņa, Jonas Žukauskas
Contributions by Åbäke, Indrek Allmann, Reinis Āzis, Viesturs Celmiņš, Nancy Couling, Tom Crosshill, Muriz Djurdjevic, Leonidas Donskis, Jānis Dripe, Keller Easterling, David Grandorge, Felix Hummel, Gustav Kalm, Karolis Kaupinis, Maroš Krivý, Carl-Dag Lige, Laura Linsi, Jonathan Lovekin, Agata Marzecova, Timothy Morton, Kaja Pae, Thomas Paturet, Ljeta Putāne, Eglė Rindzevičiūtė, Markus Schaefer, Jack Self, Nasrine Seraji, Tuomas Toivonen, Nomeda and Gediminas Urbonas, Jānis Ušča, Aro Velmet, Ines Weizman

“It is impossible, but as you do not know it is impossible, it might be possible.”
—Lolita Jablonskiene, Director of the National Gallery of Art, Vilnius, commenting on previous attempts to organize a joint pavilion including all three Baltic States for the Venice Biennale

The Baltic Atlas, published in conjunction with the exhibition of the Baltic States Pavilion at the Venice Architecture Biennale 2016, is a gradient between two questions. The first: “what is it possible to imagine?” focuses on interpretations, fictional stories, analyses, and reflections on the ongoing processes, and proposes future projections. The second: “what is possible?” is an inquiry into the methods, resources, and parameters that define space.

All texts have been specially written for this publication. Parallel discourses are positioned next to each other—overlaid in an atlas that works in range of different modes. An atlas is a medium that unravels multiple ways of seeing the region of the Baltic States as an intensification of networks, agendas, and ideas that are relevant on a global scale. Along with the Baltic Pavilion exhibition, this publication offers a sense of an open-ended ecology of practices—a forum on what is to come.

Design by Åbäke and Vytautas Volbekas

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David Harvey
Abstract from the Concrete (The Incidents Series)

Marxist geographer David Harvey opened his lecture with a fact: between 2011 and 2013 China consumed 50 percent more cement than the United States had in the entire twentieth century. In Abstract from the Concrete, he asks why. Spiraling outward—geographically and materially—Harvey travels from the building industry in China to the foreclosed housing market in the United States to the automobile industry in São Paolo and back again. The why emerges as a direct result of “anti-value,” of capital in crisis—intrinsic, he contends, to capital and capital cities today.

Featuring an interview with David Harvey by Mariano Gomez Luque and Daniel Ibañez

The Incidents is a series of publications based on events that occured at the Harvard University Graduate School of Design between 1936 and tomorrow.

The Incidents Series is copublished with the Harvard University Graduate School of Design
Design by Åbäke

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Anne Lacaton, Jean-Philippe Vassal
Freedom of Use (The Incidents series)


Edited by Jennifer Sigler and Leah Whitman-Salkin

“Nothing in the architecture of Lacaton and Vassal is what it looks like at first glance.”
— Iñaki Ábalos, introducing Anne Lacaton and Jean-Philippe Vassal, Harvard University Graduate School of Design, March 24, 2015

Anne Lacaton and Jean-Philippe Vassal are known for an architecture that privileges inhabitants’ freedom and pleasure through generous, open designs. The Paris-based architects opened their 2015 lecture at Harvard University with a manifesto: study and create an inventory of the existing situation; densify without compressing individual space; promote user mobility, access, choice; and most importantly, never demolish. Freedom of Use reflects on these core values to present a fluid narrative of Lacaton and Vassal’s oeuvre, articulated through processes of accumulation, addition, and extension. The architects describe built and unbuilt work, from a house in Niger made of little more than branches; to the expansive Nantes School of Architecture; to a public square in Bordeaux where, after months of study, their design solution was: do nothing.

Lacaton and Vassal’s principle of doubling space is echoed in the book’s treatment of photography: black-and-white exterior shots that run alongside the text form a dialogue with corresponding full-color photographs of each interior, gathered at the end of the book.

The Incidents series is copublished with the Harvard University Graduate School of Design
Book series designed by Åbäke

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Pierre Hermé – The Architecture of Taste
Jennifer Sigler and Leah Whitman-Salkin (Eds.)


Edited by Jennifer Sigler and Leah Whitman-Salkin
With contributions by Savinien Caracostea, Pierre Hermé, Sanford Kwinter

On November 27, 2012, world-renowned pastry chef Pierre Hermé arrived at Harvard University from Paris. He brought five chefs, two assistants, 600 sheets of gelatin, 150 eggs, 68 pounds of caster sugar, 40 pounds of unsalted butter, 32 pounds of cream, 25 pounds of milk chocolate couverture, 11 pounds of grated wasabi, and the alchemic techniques to transform these ingredients into an elaborate “lecture de pâtisserie.” Together with Savinien Caracostea and Sanford Kwinter, he methodically deconstructed four conceptual desserts for 400 spectator-diners.The Architecture of Taste recaptures this night and the physiological effects of Hermé’s pastry visions.

The Incidents is a series of publications based on events that occured at the Harvard University Graduate School of Design between 1936 and tomorrow.

Copublished with the Harvard University Graduate School of Design
Book series designed by Åbäke

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